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Mountain laurel, blueberries and other acid-lovers, too

September is the best time of the year to transplant azaleas, rhododendrons, mountain laurel, andromeda, blueberries and other plants that thrive in acid soils. This is because these species have stopped growing new stems and leaves and are starting to generate and elongate roots.
    So take advantage of fall garden center sales. If your existing plantings are too dense or wrongly placed, now is a good time to dig and transplant.
    Here’s how to assure success in transplanting plants that prefer acid soils.
    First, make certain that the soil you will be transplanting into is adequate.  Acid soils are generally deficient in calcium and magnesium, but only a soil test of the area will correctly identify soil conditions. Each soil test should be made from a composite of five or more core samples. I rely on A&L Eastern Agricultural Laboratories in Richmond for all of my soil testing. 
    Plants like these also need well-drained, high-organic soils. Even if the soil test indicates an ample amount of calcium, I make it a regular practice to mix one-half cup gypsum (calcium sulfate) to the planting soil. To assure an abundance of organic matter, I also blend one-third by volume of compost or pine fines with the existing soil while blending the gypsum with the backfill. Compost adds not only organic matter but also slow-release nutrients.
    Never amend the soil with peat moss, especially when transplanting rhododendrons. Peat moss holds too much water, making conditions favorable for water-borne fungi that attack the roots of rhododendrons.
    All species that grow in acid soils are shallow-rooted. So never dig the planting hole deeper than the depth of the root ball. There is no need to place compost or back-fill under the root ball because of the shallow-rooting nature of these species.
    If you are digging plants that need more space to grow, the outside edge of the root ball you are digging should begin mid-distance between the drip line of the branches and the stem of the plant. If the soil is dry, irrigate the plant well at least two days before you dig.
    After digging, lift the plant by the root ball and not by the stem. If you are transplanting container-grown plants, after removing the plant from the container, use a sharp knife and slash the outside edge of the root ball an inch deep from top to bottom making the slashes two to three inches apart. Since most container plants are grown in soilless rooting media, slashing the root balls and pulling out some of the roots will hasten new root development.
    The top of the root ball should be visible at the surface of the finished grade. Before mulching, water the plants thoroughly to settle the backfill around the roots and eliminate air pockets. A good heavy watering helps to firm the soil in place.
    Apply no more than one inch of compost or pine bark mulch. Never use hardwood bark mulch because it is basic in nature and contains high levels of manganese.
    Azaleas, rhododendrons, mountain laurel, andromeda, blueberries and other acid-lovers will tolerate light to medium shade, but they will produce more flowers and be more cold-tolerant in full sun. In commercial nurseries, all of these species are grown in open fields and sometimes covered with light shade in late fall simply to give the plants a better appearance for sale in the spring.


Ask Dr. Gouin your questions at DR.FRGouin@gmail.com. Please include your name and address.

Neither scary nor inventive, this horror should have stayed buried

Deep below the streets of Paris is a city of bones. Most of the catacombs are well mapped out tourist spots, but a secret section of the tunnels obsesses alchemist professor Dr. Scarlett Marlowe (Perdita Weeks: The Invisible Woman). She believes these tombs house Nicolas Flamel’s famed philosopher’s stone, which holds the key to knowledge and immortality.
    Scarlett’s father spent his career searching for the stone before committing suicide when his theories were mocked. She has dedicated her life to proving his beliefs. To take her into the catacombs, she recruits language expert George (Ben Feldman: Mad Men), documentary filmmaker Benji (Edwin Hodge: The Purge: Anarchy) and three French spelunkers.
    In uncharted parts of the crypts, a cave-in forces the team into a cavern declared sinister by locals. As they crawl among the bones searching for a way out, Scarlett notices odd things. As team members die, she acknowledges that they may have descended into a realm of evil.
    Will they realize in time the Philosopher’s Stone is really at Hogwarts? Or are all destined to add new piles of bones to the crypts?
    Yet another mockumentary horror film, As Above, So Below deals with themes of hell, mysticism and guilt. Unfortunately, each is handled poorly. Director John Erick Dowdle (Devil) substitutes shaky cam action for tension. Whenever the team comes across a scare, he whips the camera back and forth so that we see blurred images. It’s an endurance challenge for viewers with weak stomachs.
    Dowdle squanders even the most inherently frightening part of his movie: the setting. Claustrophobic sequences are few; if Paris were built on such a spacious sewer system, the City of Love would be at the same elevation as Denver.
    The actors do what they can with weak material. As the fanatical leader, Weeks’ Scarlett is eerily calm in the face of disaster. She manipulates, cajoles and forces her group to bend to her will. Weeks also convincingly sells Scarlett’s haunted past and her determination to clear her father’s name.
    As a mildly claustrophobic nerd who has a crush on Scarlett, naturally charismatic Feldman has little to do.
    With no scares, poor cinematography and a weak script, the only thing frightening about this movie is paying to see it.

Poor Horror • R • 93 mins.

See this flick and you might wish you were dead

In the bowels of Basin City, there are no happy endings. So don’t look for any in these four stories of sex, death and violence.
    Barfly thug Marv (Mickey Rourke: Java Heat) hasn’t made a man bleed in days. It’s starting to get to him. As his impulse toward violence grows, he seeks an outlet to vent his rage.
    Gambler Johnny (Joseph Gordon-Levitt: Don Jon) is looking to make a score. Never having lost a game of chance, he buys into the richest card game in the city, playing police chiefs, senators and high rollers to take home millions.
    Private Eye Dwight (Josh Brolin: Guardians of the Galaxy) meets his long-lost love Ava (Eva Green: Penny Dreadful) at a bar. She promises love and fidelity if Dwight helps extract her from her marriage to the rich sadist for whom she left him.
    Stripper Nancy (Jessica Alba: The Spoils of Babylon) lost the love of her life because of the threats of a powerful senator (Powers Boothe: Nashville). Now an alcoholic with a tenuous grip on sanity, she vows revenge.
    Director Robert Rodriguez made the first Sin City film — adapted from Frank Miller’s popular graphic novels — in black and white so it looked ripped from the pages of a comic book. In this sequel, he seems to have forgotten what made the original a success. This sequel is so bad that it taints the memory of its predecessor.
    Despite graphic violence, near constant nudity and plenty of pulpy dramatic dialog, this movie is so dull that it could be used in a sleep study.
    The four story lines are smashed together rather than interwoven. The painterly quality so visually arresting in the first is replaced with shots of naked women framed as high art.
    Actors could save this one — were not most of them woefully inept or miscast. Jessica Alba continues to prove she’s one of the worst actresses working today. Gordon-Levitt’s slight frame is dwarfed in Miller’s world of hulking men.
    Only Rourke understands how to work with the pulpy dialog and plot. His Marv — who impressed in the first Sin City — is a sweet lunk who happens to be a dangerous psychotic. Rourke generates both sympathy and fear.
    With nothing but Mickey Rourke’s 20 minutes of screen time to recommend it, Sin City: A Dame to Kill For fails on three counts: film, action and cheap pornographic thrills.

Awful Action • R • 102 mins.

Close as Mercury, far as Neptune

The moon waxes through our evening skies from a thin crescent at week’s end to first-quarter Tuesday September 2. Friday Luna shines just two degrees above the first-magnitude star Spica low in the southwest.
    Sunday the moon appears farther east at sunset, forming a tight triangle with Saturn to the west and Mars to the south. The two planets appear equally bright, shining at magnitude 0.6, but Saturn’s golden glow and Mars’ red hue make them easy to tell apart.
    Monday evening the moon shines at the head of Scorpius, which is marked by three slightly mis-aligned stars. The moon is just one degree above the northernmost of the three, Graffias, shining at magnitude 2.5. Ten degrees southeast of the moon is the red giant Antares, the heart of the scorpion.
    As the sun dips beneath the horizon around 7:40, look in its wake for Mercury low in the west. Binoculars may help you pinpoint this elusive planet. When most people spot Mercury, they are surprised by its brightness, shining around zero magnitude, brighter than most stars. But the innermost planet orbits so close to the sun that it never appears more than a dozen degrees above the horizon during dark hours.
    Mercury has been a fixture of our night sky since the dawn of civilization. The first telescopic observations of the planet were made by Galileo in 1610, but unlike his viewing of Saturn, there was no eureka moment. It was not until more than 350 years later with the fly-by of the Mariner 10 space probe that astronomers learned much more about this elusive planet.
    You may be able to see the farthest planet from the sun, Neptune, before dawn this week. On Friday the outermost planet reaches opposition, when earth is directly between it and the sun. Even with binoculars or a small telescope it will appear as little more than a small blue dot low in the west-southwest amid the dim stars of Aquarius.
    Venus and Jupiter will greet you in the east before dawn amid the glow of the coming sun.

It’s a little late to start seeds but just right to plant seedlings

The best sauerkraut is made from fall-grown cabbage. The best kale and collards have been frosted a few times, growing sweeter with each frost. Fall-grown spinach and lettuce are more tender. Carrots, beets, turnips, rutabaga and kohlrabi are at their best when grown in late summer and harvested in the fall. Both cauliflower and broccoli form tighter heads in fall than in spring. I also harvest many more fall peas than spring peas. If you love Brussels sprouts as much as I do, you must get them started now to harvest a bountiful supply.
    There is more gardening ahead, and now is the time to start sowing seeds. If you planted onions this past spring, they should all be harvested by now — as well as the cabbage, broccoli, cauliflower and spinach. So you now have room to start planting your fall crops.
    I have stopped planting peas in the spring because I can make many more harvests from peas planted in August. The cooler fall temperatures promote continuous growth until the killing frost comes late in fall. Spring-planted peas stop producing pods as soon as the heat comes on.
    August is also a good time to make a planting or two of snap beans. If you make two consecutive plantings about two to three weeks apart, you will be harvesting snap beans until the frost kills the plants.
    If you sowed your seeds of broccoli, cauliflower, kohlrabi, Brussels sprouts and cabbage the first week of August, the plants will be ready to be transplanted into rows by the end of the month. Seeds of spinach, lettuce, kale, collards, turnips and rutabaga should have been sown by mid August. To grow the sweetest carrots this side of heaven, the seeds should also have been planted before the middle of August, as should a row of beets for greens as well as for the sweetest roots.
    If you haven’t started your seeds, check the garden centers for seedlings of these cool-weather crops.
    Your soil most likely still holds a plentiful supply of nutrients not utilized by the remaining summer crops. Since the soil is warm, the compost you added to the garden is also releasing nutrients. A fall crop allows you to maximize the uptake of the nutrients already added as well as those released during the decomposition of organic matter.
    If you are not going to plant a fall crop, sow a cover crop of winter rye to absorb all of those free nutrients into their roots and stems. Next spring when you plow the rye back into the ground, the nutrients will be there for that crop.


Ask Dr. Gouin your questions at DR.FRGouin@gmail.com. Please include your name and address.

What kind of doublespeak is that?

Sometimes I feel heartfelt compassion for the very difficult job of Maryland Department of Natural Resources. Many citizens and not just a few commercial entities demand endless access to the resources of the Chesapeake, while the wise conservation and management of these resources are the sole responsibility of DNR.
    The blue crab is one such resource. One of the more desired, the more profitable and most celebrated of the Bay’s treasures, it has also been over the last 20 years or so one of the Bay’s species most often in trouble. I sympathize with the pressures the Department has to constantly endure in attempting to protect the crustacean from over harvest and depredation.
    Then, DNR destroys my empathy with pronouncements that seem to defy credibility, common sense and logic.
    On a recent occasion, officials stated for the record on a local radio program and in a subsequent newspaper article that any form of moratorium would cause the species more harm than good.
    That ranks up there with the Department’s earlier statement “crabbing harvests remain at a safe level for the sixth consecutive year,” while revealing the blue crab population had plunged 70 percent also during that period.
    Is that not doublespeak? DNR’s own safe harvest levels imply proper population protection that has obviously not been happening. In the case of “more harm than good,” how can not killing some 30,000 pounds of crabs hurt the overall population?
    Unlike the successful rockfish moratorium, a crab moratorium wouldn’t work for several reasons, according to DNR: the short life of crabs (three years or so); the diminishing fertility of females over time; and the increased natural mortality of cannabilistic crabs when the population is dense. DNR also cites the economic harm to Maryland’s blue crab industry.
    I can understand the Department’s reluctance. Every cutback affects the livelihoods of not only 4,000-plus watermen but also the bottom line of many restaurants and seafood markets. But don’t try to tell me that continuing to kill off a resource is really helping it.
    I can understand unpredictable natural mortality and how cold-weather kills and how poor recruitment causes unanticipated short-range population swings. But to continue to allow optimistically calculated harvest levels year after year while that population free falls defies common sense.
    The near future looks grim for the blue crab. Local crabbers report very difficult catches, fewer and smaller crabs and a continuing dearth of females, indicating more population trouble for the future. This assessment is not scientific, but it seems to reflect reality better than anything coming out of Annapolis.
    I respectfully request the Department reconsider its basic resource philosophy because whatever we have been doing is not working.
    Insisting on species health and abundance above all seems wiser and more realistic than any maximum-sustainable harvest policy by any name.
    Paying closer attention to the recommendations of scientists from Bay conservation foundations could also be wise, as they are free from most political and commercial manipulations.
    That is if Maryland officials are committed to the conservation of the blue crab and share the belief that a consistently large and healthy population will naturally result in a flourishing commercial fishery, a satisfied recreational sector and a happy consuming public.
    If, on the other hand, our representatives are primarily committed to short-term commercial-industry stability — fulfilling market and political demands — then we’re on the right track.

Policy for success takes more than good luck

Labor Day is just another day off — albeit the one that closes summer — unless we know our history. Our work-free first Monday of September is in fact “a yearly national tribute to the contributions workers have made to the strength, prosperity and well-being of our country,” according the U.S. Department of Labor.
    Dating back to 1882 when labor unions were gaining strength, the holiday was celebrated for many years with parades to demonstrate “the strength and esprit de corps of the trade and labor organizations.” Festivities followed.
    You don’t see many Labor Day parades nowadays, so Bay Weekly stages our own annual Labor Day Parade of Working People.
    Work brings us our livelihood, supports for our families, endows our futures and defines our identities, I write introducing the story.
    That’s what we like to think.
    If you’re among the 3.3 million Americans earning minimum wage, your truth is likely closer to the James Brown line in “Living in America”: Everybody’s working overtime.
    Federal minimum wage is $7.25. Lots of workers earn less. The minimum wage for tipped workers, for example, is $2.13 an hour.
    States can choose to pay more. Washington pays the highest minimum wage: $9.32, with inflation adjustments.
    Starting in the new year, Maryland’s minimum wage of $7.25 rises to $8, with staged increases topping off at $10.10 on July 1, 2018.
    That’s a big deal — except in perspective. At 1968 levels, $10.77 would be 2014’s minimum wage.
    Work a full-time year at today’s minimum wage and you’ll earn just over $15,000.
    At that level, Labor Day is black comedy.
    A bell-shaped curve made the prosperity this day celebrates. People of enormous earnings are one end of the flat base from which the bell rises. People who earn little or nothing are the opposite end of that base. The bell is the middle class — producing, exporting and buying our way to a strong economy.
    “How do we expand the middle class?” Congressman Steny Hoyer asked at a Women’s Equality Day lunch this week honoring the 94th anniversary of women’s suffrage. “A ladder of opportunity from poverty to the middle class.”
    Each of the 13 people you’ll meet in Bay Weekly’s Labor Day Parade climbed an opportunity ladder. Many built their own. Of these fascinating stories, my favorites are the two men whose work in good, stable jobs bring them livelihood and identity, support for their families and their futures. A good company, good luck and good contacts built their ladders.
    We love success stories, but a problem as big as our deflating middle class takes success policies. An almost liveable minimum wage is one part, and it depends on employers.
    Workers have their responsibilities, too, gaining skills that make them employable.
    Schools are also part, filling our minds, training our hands, then showing us how to use what we know and do. Encouraging creativity is another part of the curriculum for success.
    Good luck is a great thing; it helped many — maybe all — of this year’s parade of people find their work. Skilled creativity fueled by ambition is your part.

Sandra Olivetti Martin
Editor and publisher; editor@bayweekly.com

Escape urban lights to see this sight

     Each August, as the kids head back to school, the galaxy is tilted  in such a way that the Milky Way stretches overhead in full glory. With Monday’s new moon, this may be the best week of summer to gaze on this river of stars. To fully appreciate it you’ll need dark skies away from any urban glow well after sunset. Give your eyes a few minutes to get accustomed to the darkness, tilt your head back and get lost in the glow.
    From Perseus and Cassiopeia in the north-northeast, the Milky Way flows down through Cygnus the swan onto Aquila the eagle. From the eagle’s tail, the glow of stars splits, one section continuing to Sagittarius, the other to Scorpius in the southwest; the dark space in between is called the Great Rift. But this patch of the heavens is not bereft of stars. Our view of them is blocked by masses of interstellar gas and dust. Of course it isn’t just the flowing river of stars that make up the Milky Way but almost every star we see with the unaided eye, including our own sun. All are part of the same spiral galaxy. Our solar system is at the end of one of the spiral’s arms. When we look at the river of stars, we are looking toward the center of the galaxy, through layers of light that combined form the glowing band that we see on a beautiful dark night.
    As evening twilight gives way to darkness, Mars and Saturn appear in the southwest. Mars has been inching toward the ringed planet night by night and will pass below it over the weekend, coming within three degrees. The two planets appear equally bright, but you should have no trouble telling Mars’ reddish hue from Saturn’s golden glow. While you’re comparing colors, look a few degrees to the north of the two planets for the star Zubeneschimali in the constellation Libra. This is the only star with a greenish glow visible to the unaided eye — at least to some. What about you?
    Venus and Jupiter rise in the east-northeast before dawn. Jupiter is first to crest the horizon, but once Venus appears a few minutes later you’ll have no trouble telling the two apart, as the morning star is six times brighter than old Jove. The two planets are joined by the ever-so-thin waning crescent moon early Saturday morning.
    The last of the naked-eye planets returns to view late this week. Look for Mercury Wednesday the 27th immediately in the wake of the setting sun and just a couple degrees from newly emerged waxing crescent moon.

Theater al fresco at Reynolds Tavern, where the humor is bawdy, the medicine primitive and the fun timeless

     Annapolis Shakespeare Company keeps the comedy in the courtyard coming. After a successful run with Molière’s The Schemings of Scapin, now on tap outdoors at Reynolds Tavern is a lively and very funny Imaginary Invalid. Molière’s final play was written by the tuberculosis-wracked playwright/actor to star himself and reflect his disdain for the medical mores. He indeed played the lead to great acclaim before succumbing to his malady soon after the curtain went down on a show for King Louis XIV.
    Adapted by Tim Mooney and directed by Kristen Clippard, Annapolis Shakespeare Company’s Imaginary Invalid is three riveting acts of fast-paced fun, with a stellar cast reveling in every rhyming couplet. But don’t let the three acts worry you about a long night ahead; the 7:30pm start gets you out just a bit after 9pm.
    The imaginary invalid is Argan (Kim Curtis), a well-to-do hypochondriac who wants to marry his daughter Angelique (Ashlyn Thompson) off to a soon-to-be-doctor (Zachary Roberts), son of Diafoirus (John Stange), already a doctor, so one will always be around. Meanwhile, his second wife Beline (Amber Gibson) wants both her stepdaughters, Angelique and Louison (Roberts again), put into a nunnery so she can claim Argan’s riches when he dies. But Angelique is in love with the handsome, romantic and oh so dim Cleante (Keegan Cassady). Argan’s maidservant Toinette (Briana Manente) has no qualms about setting Argan straight on why a forced marriage is a bad idea, as does his brother Beralde (Stange again), who also is getting a little fed up with the whole ­hypochondria thing.
    Got all that? Thanks to a cast of actors who know how to deliver lines with their bodies as well as their voices, the action is easy to follow. Which brings up a personal nitpick: How many times have you gone to the theater and missed lines because the actors weren’t speaking up? Nine times out of 10 it’s not the volume that’s the problem, it’s the diction. Other local theaters would do well to emulate Annapolis Shakespeare Company’s focus on enunciation because nary a line was lost, even in this outside setting. Speak the speech, I pray thee.
    The other thing that often gets between the actor and the audience’s ability to follow what’s happening is the blocking — the placement and movement of the actors — a challenge especially in a round setting such as the Reynolds courtyard. Again, director Clippard’s focus on the details pays off. Despite the small space, the action does not feel limited or cramped, and no back is turned to any of us for more than a few seconds.
    In the less-is-more category, this is all done with a single chair and one chair-side table with a few apothecary bottles. That’s because the top-notch acting and efficient use of space eliminate the need for anything more than the very clever costumes. So, reserve a Tuesday evening and watch some very talented actors pull you away from Annapolis 2014 and into 1600s’ France, where the humor is bawdy, the medicine primitive and the fun timeless.


Costume coordinator: Maggie Cason. Stage manager: Sara K. Smith. Assistant stage management intern: Shannon McGovern.

Playing thru October 7 Tu at 7:30pm at Reynolds Tavern. 7 Church Circle, Annapolis. $20 w/advance discounts:
410-415-3513; www.annapolisshakespeare.org.

Grandpa, tell me about the good old days

    In the bygone era of 1980s’ movies, a hero’s worth was determined by the circumference of his biceps, the length of his cigars and the heft of his gun. It was a simple time of bloody shootouts, car chases and cheesy lines.
    Three decades later, these pumped-up monosyllabic heroes are well past their prime but determined to relive their glory days in the Expendables series. Most of the stars are too old for this stuff, but even action heroes have house payments. So every few years Sylvester Stallone (Grudge Match) writes a new Expendables script and trots out his buddies for a quick paycheck and a trip down memory lane.
    In the third geri-action installment, we follow Barney Ross (Stallone) and his mercenary team, the Expendables, on a seemingly routine interruption of an arms deal. The mission goes spectacularly wrong when Barney catches the arms dealer in the crosshairs. The dealer is Expendables’ co-founder Conrad Stonebanks (Mel Gibson: Machete Kills), who Barney believed he’d killed decades ago.
    Stonebanks catches Barney and the rest of the Expendables off guard, wounding them and making off with the money. Obsessed with killing Stonebanks and terrified that his aging mercenaries will die on the mission, Barney fires his team to seek a new, younger crew.
    Young audiences may miss the appeal of seeing wrinkled men mutter lame jokes, hit on women 20 years younger and beat each other bloody. But for audiences who grew up watching Cobra, Commando and Masters of the Universe, there is a certain nostalgic fun to these mindless action throwbacks.
    Filled with hokey lines, a ridiculous plot and low-budget action sequences, The Expendables 3 rises with its cast. Or falls, as Stallone’s new team of young pretty boys are pretty dull.
    When the veterans get their chance, each delivers. Stallone and Arnold Schwarzenegger (Sabotage) are old hands at charming their way through terrible material. Dolph Lundgren (SAF3) entertains by vacillating between imposing psychotic and goofy weirdo. Wesley Snipes (Gallowwalkers) proves that he still has a magnetic screen presence. Jason Statham (Homefront), who deserves so much better than this dreck, is the odd man out, too young to fit in with the old guard, too grizzled to join the boys.
    The only acting tragedy among the old guys is the villain. Gibson’s legal and PR troubles have made him an ideal bad guy for movies, but his wild-eyed performance shows that this once-great star has fallen.
    With a horrid plot, spotty acting and odd casting, The Expendables 3 is a bad movie. Yet I enjoyed it. Seeing these stars pick up their guns and get back to work is a little like touring Jurassic Park. There’s something magical about watching these dinosaurs in their natural element.


Fair Action • PG-13 • 126 mins.